Chapter I: Part 1

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_The Complete Work from which this Handbook is extracted_

The Keramic Gallery

BY WILLIAM CHAFFERS

Containing several hundred illustrations, some in colour, of rare, curious, and choice examples of Pottery and Porcelain from the earliest times to the beginning of the nineteenth century

NEW EDITION, REVISED AND EDITED BY H. M. CUNDALL, I.S.O., F.S.A.

Royal 8vo, cloth extra, top edge gilt, to range with the same author's "Marks and Monograms on Pottery"

This important book, which was long out of print and scarce, is not reprinted because of its rarity, but because it is an _indispensable_ companion to the same author's "Marks and Monograms on Pottery and Porcelain."

As originally published in two volumes at 4 guineas, with the examples reproduced by the Woodbury process, it was an inconvenient book for reference, the examples being separated from the text. In this edition the illustrations are all printed in the letterpress, and are seen in conjunction with the history and description of the different potteries.

The book is not a bare reprint, but has been thoroughly edited, in many cases new or additional specimen pieces given, and the references made to the latest edition of the "Marks and Monograms," so that the book is of the utmost use for the present day.

This work was undertaken by Mr. H. M. Cundall, I.S.O., F.S.A., and no pains have been spared to make it worthy to be in the hands of every collector as well as every library.

HANDBOOK TO KERAMICS

THE COLLECTOR'S HANDBOOK TO
Keramics
_Of the Renaissance and Modern Periods_

SELECTED FROM HIS LARGER WORK, ENTITLED
"The Keramic Gallery"

WITH 350 ILLUSTRATIONS

BY
WILLIAM CHAFFERS

AUTHOR OF "MARKS AND MONOGRAMS ON POTTERY AND PORCELAIN"
"HALL MARKS ON GOLD AND SILVER PLATE," ETC. ETC.

LONDON
GIBBINGS AND COMPANY, LIMITED
NEW YORK: CHARLES SCRIBNER'S SONS
1909

Printed by BALLANTYNE, HANSON & CO.
At the Ballantyne Press, Edinburgh

PREFACE

As "THE KERAMIC GALLERY" by the late William Chaffers forms a pictorial supplement to his book "MARKS AND MONOGRAMS ON POTTERY AND PORCELAIN," so likewise this work, "HANDBOOK TO KERAMICS," which is an abridged edition of "THE KERAMIC GALLERY," is intended to form a companion volume of illustrations to "THE COLLECTOR'S HANDBOOK OF MARKS AND MONOGRAMS ON POTTERY AND PORCELAIN."

Whilst it has been found necessary on account of their size to omit some of the larger illustrations, which appear in the second edition of "THE KERAMIC GALLERY," care has been taken to give representations, as far as possible, of each individual kind of pottery and porcelain, which have been produced in the various foreign and English manufactories from the Renaissance period down to the middle of the nineteenth century.

Brief accounts, extracted from the larger volume, of the various manufactories are also given, with a view to help in establishing the period to which any specimen may belong.

It is hoped that this little work may prove to be of assistance to the Collector in identifying those specimens of Keramics bearing no marks, which may, from time to time, be brought under his notice.

H. M. C.

CONTENTS

PAGE
MAIOLICA--
ITALY 1
SPAIN 41

CONTINENTAL FAYENCE--
FRANCE 50
GERMANY 84
HOLLAND AND LUXEMBURG 100
RUSSIA AND SWEDEN 107

CONTINENTAL PORCELAIN-- 110
ITALY 112
SPAIN 127
GERMANY 130
AUSTRIA 160
SWITZERLAND 168
HOLLAND 170
BELGIUM AND LUXEMBURG 175
RUSSIA 179
SWEDEN 184
DENMARK 185
FRANCE 187

GREAT BRITAIN--
POTTERY 216
PORCELAIN 255

ORIENTAL POTTERY AND PORCELAIN--
CHINA 285
JAPAN 295
PERSIA, SYRIA, AND TURKEY 304

INDEX 313

LIST OF ILLUSTRATIONS

CHELSEA STATUETTE, "MELPOMENE" _Frontispiece_

MAIOLICA

ITALY

FIG. PAGE

1. URBINO--Plateau. Marriage of Alexander and Roxana 2
2. " Plateau, with Leda and the Swan in the centre 3
3. " Plateau. By Alfonso Patanazzi, 1606 4
4. " Vase. Apollo and Daphne. _Circa_ 1580 5
5. " Cruet. _Circa_ 1570 6
6. " Plate. "The Stream of Life;" signed M{o}. Giorgio 7
7. " Vase, with Shield of Arms, by M{o}. Giorgio. _16th
century_ 7
8. PESARO--Drug Vase, inscribed "Sir di Cedro." _17th century_ 9
9. " Bowl, Cover, and Dish, _18th century_ 10
10. CASTEL DURANTE--Vase. _Circa_ 1560 11
11. " Plate. _Circa_ 1530 11
12. FAENZA--Plaque; inscribed "Andrea di Bono, 1491" 12
13. " Plate, with motto "En Piu." _15th century_ 13
14. " Plaque. Joseph Sold by His Brethren. _16th century_ 14
15. " Plate, with Arms and Arabesques, _16th century_ 15
16. DIRUTA--Plate. _Circa_ 1520 16
17. " Plate; inscribed "Sura Fiore." _Circa_ 1520 16
18. FORLÌ--Plate. Christ among the Doctors. _16th century_ 17
19. VITERBO--Plateau. Diana and Actæon. _Dated_ 1544 18
20. CAFAGGIOLO--Plateau. St. George. _Circa_ 1520 19
21. SIENA--Plate. By M{o}. Benedetto. _Circa_ 1520 21
22. " Plate. Woman and Two Peacocks. _18th century_ 22
23. " Plate. Vintage; signed "Ferdinando M{a}. Campani, 1747" 22
24. " Plate. Galatea. _Early 18th century_ 23
25. VENICE--Plate. Architectural Subject. _Circa_ 1700 24
26. NOVE--Tureen and Cover. _18th century_ 25
27. FLORENCE--Cup and Saucer 26
28. PADUA--Plate. Myrrha Fleeing from her Father 27
29. CASTELLI--Bowl and Cover. _18th century_ 28
30. " Ewer and Basin. _18th century_ 29
31. MONTE LUPO--Plate. Three Cavaliers 31
32. MILAN--Écuelle and Dish. _18th century_ 32
33. " Ewer and Dish. _18th century_ 32
34. " Cup and Plate. _18th century_ 32
35. TURIN--Dish with pierced Border. _Dated_ 1577 33
36. FERRARA--Plateau. Triumph of Bacchus. _First half of 18th
century_ 34
37. GENOA--Bottle. _18th century_ 35
38. SAVONA--Basket. _18th century_ 36
39. LORETO--Two Bowls 37
40. SGRAFFIATO or INCISED WARE--Bowl. _About_ 1460 38
41. " " Plate. _About_ 1540 38
42. " " Basket. _19th century_ 39

SPAIN

43. HISPANO-MORESQUE--Vase. _15th century_ 40
44. " Azulejo. _14th century_ 41
45. " Plateau. _15th or 16th century_ 43
46. " Plateau. _15th or 16th century_ 44
47. VALENCIA--Dish 45
48. MANISES--Vase 46
49. TRIANA--Bottle in Form of a Lady 47
50. " Dish. _Dated_ 1774 47
51. ALCORA--Plaque with Rococo Frame 48
52. TALAVERA--Bowl 49

CONTINENTAL FAYENCE

FRANCE

53. SAINT PORCHAIRE--Candlestick 51
54. " Biberon 52
55. APT--Vase 53
56. BLOIS--Candlestick 54
57. AVIGNON--Ewer. _About_ 1600 55
58. PALISSY WARE--Dish, with Reptiles, Fish, &c. _16th century_ 56
59. NEVERS--Pilgrim's Bottle. _Second half of 17th century_ 57
60. " Ewer. _Second half of 17th century_ 58
61. " Pilgrim's Bottle 59
62. ROUEN--Ewer 60
63. " Ewer 61
64. " Plate 61
65. " Compotier 62
66. " Compotier 62
67. STRASSBURG--Fountain 63
68. " Clock and Bracket 64
69. MOUSTIERS--Plateau 65
70. " Compotier 66
71. " Plate 67
72. " Barber's Basin 67
73. VARAGES--Plate 68
74. MARSEILLES--Tureen 69
75. SINCENY--Bowl and Cover 71
76. LUNÉVILLE--Pair of Rustic Figures 73
77. " Dish 73
78. APREY--Plate 74
79. MANERBE--Finial 75
80. ST. CLÉMENT--Écuelle 76
81. NIDERVILLER--Vase 77
82. ST. ARMAND-LES-EAUX--Inkstand 79
83. SCEAUX PENTHIÈVRE--Plate 80
84. CREIL--Plate 81
85. LILLE--Dish 82

GERMANY

86. NUREMBERG--Jug. _15th century_ 85
87. " Dish 86
88. BAYREUTH--Coffee-pot 88
89. LIMBURG--Cruche 90
90. RAEREN--Cruche 90
91. SEIGBURG--Canette 91
92. GRENZHAUSEN--Jug 92
93. " Fountain 93
94. KREUSSEN--Tankard 94
95. HARBURG--Cruche 95
96. DRESDEN--Böttcher Coffee-pot 97
97. TEINITZ--Plate 98
98. KIEL--Bishop Mitre Bowl 99

HOLLAND

99. DELFT--Cruche 101
100. " Teapot 102
101. " Vase 103
102. " Plate 104
103. AMSTERDAM--Dish 105

SWEDEN

104. RÖRSTRAND--Butterboat 108
105. MARIEBERG--Vase and Cover 108
106. " Plate 109

CONTINENTAL PORCELAIN

ITALY

107. FLORENCE--Cruet 112
108. " Bowl 113
109. DOCCIA--Teapot 113
110. " Basin 114
111. NAPLES--CAPO DI MONTE--Vase 115
112. " " Saucer 115
113. " " Cup and Saucer 116
114. " " Coffee-pot 116
115. TREVISO--Écuelle 117
116. " Cup and Saucer 118
117. TURIN, VINOVO--Écuelle 118
118. VENICE--Vase and Cover 120
119. " Vase 121
120. NOVE--Jardinière 123
121. " Vase 124
122. " Vase 125
123. " Milk-pot 125

SPAIN

124. MADRID--BUEN RETIRO--Group 127
125. " " Vase 128
126. " " Vase 128
127. ALCORA--Plaque 129

GERMANY

128. DRESDEN--Vase 131
129. " Sucrier, Cup, and Saucer 132
130. " Cup and Saucer 132
131. " Vase and Cover 133
132. " Bust of a Girl 134
133. " Teapot and Saucer 134
134. BERLIN--Group 135
135. " Group 136
136. " Milk-pot, Cup, and Saucer 137
137. HÖCHST--Lamp-stand 138
138. " Tray and Sucrier 139
139. FRANKENTHAL--Plate 140
140. " Déjeuner Service 141
141. NYMPHENBURG--Tankard 142
142. " Cup and Saucer 143
143. ANSPACH--Cup and Saucer 143
144. BAYREUTH--Cup 144
145. KELSTERBACH--Harlequin 145
146. THURINGIA--Cup and Saucer 146
147. CLOSTER VEILSDORF--Teapot 146
148. " Tray 147
149. RUDOLSTADT--Milk-pot, Cup, and Saucer 147
150. FULDA--A Peasant 148
151. " A Peasant 148
152. " Cup and Saucer 149
153. " Coffee-pot 149
154. FÜRSTENBERG--Bust of Augusta, Duchess of Brunswick 150
155. " Medallions 150
156. LUDWIGSBURG--Chocolate-pot 151
157. " Coffee-pot 152
158. REGENSBURG--Cup and Saucer 153
159. GROSSBREITENBACH--Milk-pot 153
160. LIMBACH--Sucrier, Cover, and Stand 154
161. GERA--Sugar Basin 155
162. " Cup, Cover, and Saucer 156
163. GOTHA--Figure of Bacchus 157
164. RAUENSTEIN--Cup and Saucer 158
165. WALLENDORF--Vase 159

AUSTRIA

166. VIENNA--Cabaret 161
167. " Milk-pot 162
168. " Plate 163
169. " Cup and Saucer 164
170. SCHLAGGENWALD--Cup and Saucer 166
171. HEREND--Cabaret, portion of a 167

SWITZERLAND

172. NYON--Cup and Saucer 168
173. " " 169
174. ZURICH--Group 169

HOLLAND

175. WEESP--Ewer 170
176. " Coffee-pot 170
177. OUDE LOOSDRECHT--Vase 171
178. " " Panel 172
179. AMSTERDAM--Pair of Bottles 172
180. OUDE AMSTEL--Teapot and Sucrier 173
181. " " Sucrier 173
182. THE HAGUE--Plate 174

BELGIUM AND LUXEMBURG

183. TOURNAI--Cup and Saucer 175
184. " Plate 176
185. TOURNAI--Salt-cellar 176
186. BRUSSELS--Milk Jug 177
187. " Teapot 177
188. LUXEMBURG--Two figures of "The Seasons" 178

RUSSIA

189. ST. PETERSBURG--Cup and Saucer 179
190. " " Verrière 179
191. MOSCOW--Statuette 180
192. " Cup and Saucer 181
193. KORZEC--Cup and Saucer 182
194. BARANOWKA--Milk Jug 183

SWEDEN

195. MARIEBERG--Custard Cup and Cover 184

DENMARK

196. COPENHAGEN--Cabaret 185
197. " Cabaret 186

FRANCE

198. ST. CLOUD--Jug 187
199. " Statuette 188
200. CHANTILLY--Dish 189
201. " Pair of Figures 190
202. MENNECY-VILLEROY--Sugar Basin and Stand 191
203. " Group 192
204. SCEAUX PENTHIÈVRE--Cup and Saucer 193
205. " " Milk-pot 193
206. ARRAS--Sceau 193
207. BOULOGNE-SUR-MER--Plaque 194
208. " " Sucrier 194
209. ÉTIOLLES--Cup and Saucer 195
210. LILLE--Cup and Saucer 195
211. BOURG-LA-REINE--Custard Pot 196
212. CLIGNANCOURT--Milk-pot and Cover 197
213. " Cup and Dish 197
214. " Milk Jug 197
215. ORLEANS--Bowl, Cover, and Stand 199
216. NIDERVILLER--Milk-pot and Cover 200
217. BOISSETTE--Teapot 201
218. CAEN--Cup and Saucer 201
219. VALENCIENNES--Cup and Saucer 202
220. STRASSBURG--Cup and Saucer 203
221. PARIS: RUE THIROUX--Sucrier 204
222. " RUE DE BONDY--Ewer and Basin 204
223. " RUE FONTAINE AU ROI--Part of a Tea Service 205
224. " FAUBOURG ST. HONORÉ--Teapot 206
225. " PONT-AUX-CHOUX--Teapot 206
226. " RUE DE CRUSSOL--Cup 207
227. " BELLEVILLE--Watch-stand 207
228. " VINCENNES--Cup and Saucer 208
229. " " (Royal Factory)--Vase 210
230. " " " Cup and Saucer 211
231. SÈVRES--Vase 212
232. " Écuelle 213
233. " Group 214

GREAT BRITAIN

POTTERY

234. STAFFORDSHIRE--Tyg 218
235. " Mug 218
236. " Plateau 219
237. ETRURIA--Wedgwood Vase 220
238. " " " 222
239. " " The Portland Vase 223
240. " " Teapot, Caddy, and Plate 224
241. " " Six Jasper Cameos 225
242. " " Vase 225
243. " " Ewer 225
244. BURSLEM--Obelisk, by Ralph Wood, and Tea Set, by Aaron Wood 226
245. " Statuette of Chaucer, by Ralph Wood 227
246. " Vase, by Moses Steel 228
247. SHELTON--Bowl, by S. Hollins 229
248. " Basin, by T. & J. Hollins 229
249. NEW HALL CHINA WORKS--Cup and Saucer 230
250. BRADWELL--Teapot, by Elers 231
251. HANLEY--Barrel, by Miles 231
252. " Vase, by Elijah Mayer 232
253. " Jardinière 233
254. " Vase 233
255. TUNSTALL--Jug, by W. Adams 234
256. LANE END--Sugar Basin 235
257. " Teapot 235
258. LONGPORT--Cup, Cover, and Saucer 235
259. " Dish 235
260. LANE DELPH--Cup, Cover, and Saucer 236
261. LIVERPOOL--Mug 237
262. " Punch Bowl 238
263. " Tiles, by J. Sadler 239
264. " Teapot 239
265. JACKFIELD--Teapot 241
266. FULHAM--"Lydia Dwight" 242
267. LAMBETH--Dish 243
268. DON POTTERY--Tea-caddy 245
269. LEEDS--Chestnut Bowl and Cover 246
270. CASTLEFORD--Teapot 246
271. SWINTON--Teapot 247
272. NEWCASTLE-ON-TYNE--Dish 248
273. " Mug 248
274. ST. ANTHONY'S--Jug 249
275. NOTTINGHAM--Mug 249
276. " Jug in the form of a Bear 250
277. GREAT YARMOUTH--Plate 250
278. LOWESBY--Garden Pot 251
279. " Vase 251
280. BRISTOL--Tiles 252
281. CADBOROUGH--Vessel in the form of a Pig 253
282. SWANSEA--Dish 254

PORCELAIN

283. WORCESTER--A Cup and Saucer 256
284. " Portion of a Tea Service (Japan pattern) 258
285. " " " (with coloured transfer) 258
286. ROCKINGHAM--Plate 259
287. " Vase 259
288. DERBY--Group. Chelsea-Derby 260
289. " Pair of Vases " 261
290. " Plate, by Billingsley 261
291. " Cup, Cover, and Saucer. Crown-Derby 262
292. " Scent Vase " 262
293. " Cup, Cover, and Saucer " 263
294. BURTON-ON-TRENT--Comport 264
295. WIRKSWORTH--Cup and Cover 264
296. PINXTON--Jardinière 265
297. " Sugar Bowl and Cover 265
298. PLYMOUTH--Coffee-pot 266
299. " Beaker and Cover 266
300. " Centrepiece 267
301. " A Shepherdess 268
302. " A Shepherd 268
303. BRISTOL--Bowl and Cover 269
304. " Dish 269
305. CAUGHLEY--Mug 270
306. " Plate 270
307. COALPORT--Dish 271
308. STOKE-ON-TRENT--Spode Cup, Cover, and Saucer 272
309. " " " Vase 273
310. " " Minton Bowl 274
311. LONGTON HALL--Vase 275
312. BOW--Teapot 274
313. " Bowl 276
314. " Plate 276
315. " Statuette, "Flora" 277
316. " Bust of King George II. 278
317. " Group, "A Tea Party" 279
318. CHELSEA--Statuette, Marshal Conway 280
319. " " "Shepherd" 280
320. CHELSEA--Vase 281
321. SWANSEA--Plate 282
322. " Plate 282
323. NANTGARW--Plate 283
324. " Cup and Saucer 283
325. " Vase 284

ORIENTAL

326. CHINA--Stoneware Vase 286
327. " " " 287
328. " Porcelain Vase 288
329. " " Ewer 289
330. " Bottle 290
331. " Jar 291
332. " Plate. Eggshell porcelain 292
333. " " " " 293
334. JAPAN--Vase. Hizen ware 296
335. " Figure of Fukurokuji 297
336. " Saké Cup and Stand 298
337. " Jar. Ôto ware 299
338. " Vase. Kishin ware 300
339. " Candlestick. Tozan porcelain 300
340. " Flask. Satsuma ware 301
341. " Incense Burner. Imari porcelain 302
342. PERSIA--Wall Tile. _13th century_ 305
343. " Water-bottle. With metallic lustre 306
344. " Dish for Rice 307
345. " Rose water Sprinkler 308
346. " " " 309
347. DAMASCUS--Plate 310
348. " Dish 311
349. RHODIAN--Plate 312

HANDBOOK TO KERAMICS

MAIOLICA

ITALY

The painted pottery of Italy, ever since its introduction into that country in the 15th century, has been called by the Italians themselves _Maiolica_. In England it was in the 18th century called _Raphael ware_, on account of an impression which existed that Raphael himself condescended to paint on some of the ware. The idea probably originated from the fact that many designs were reproduced on maiolica by the keramic artists from engravings of Raphael and other great masters. The best period of this pottery was, however, subsequent to his death, which took place in 1520.

The term _maiolica_ appears to be derived or rather corrupted from Maiorca, one of the Balearic Islands, noted for its pottery from a very early period. It was in the 16th century called _Maiorica_, and subsequently _Maiolica_.

URBINO

Urbino was one of the most celebrated of all the Italian _fabriques_, and must have had by far the most trade, although no doubt many of the specimens now attributed to this city were the works of other manufactories; there are, however, a considerable number of signed and dated pieces, and the style and touch of the principal artists engaged there may easily be detected. The best known of all the keramic artists of Urbino was Francesco Xanto Avelli da Rovigo, whose works are now so highly appreciated; he usually painted after the designs and engravings of Raphael and other great masters, but seldom adhered strictly to the grouping of the originals; he also painted subjects from Virgil, Ovid, and other poets. The marks which he placed upon his works consisted of one or more initial letters of his name, F.X.A.R., but usually the X. only, or sometimes Xanto, with the date. (See Fig. 1.)

Another celebrated artist of Urbino, who flourished in the middle of the 16th century, was Orazio Fontana, whose family name was Pellipario; Fontana being a name taken in consequence of several of the family being manufacturers of vases as well as artists.

The family of Patanazzi worked in the early part of the 17th century. Alfonso Patanazzi signed his pieces of the years 1606 and 1607 in full, as well as Alf. P. and A. P. (See Fig. 3.)

GUBBIO

Gubbio, in the Duchy of Urbino, is known principally by the works of Maestro Giorgio Andreoli, who seems to have monopolised the secret of the ruby and yellow metallic lustre, with which he enriched not only his own productions but put the finishing touches in lustre on the plates of Xanto and other artists from Urbino, as well as from Castel Durante. There is no doubt that the painting of the piece and the application of the metallic lustre colours were two distinct operations, and that it was painted and the colours fixed in the muffle kiln some months before it was touched with the lustre pigments, and again subjected to another baking. Giorgio was a statuary as well as a painter of maiolica, several of his sculptures in marble being yet extant.

Another painter in lustre, of the school of M{o} Giorgio, has signed his pieces with the letter N., which is supposed by some to be a monogram of Vincenzio, the son of M{o} Giorgio; and a painter named Perestino, of Gubbio, produced some very beautiful pieces, dated 1533 and 1536.

PESARO

Guido Ubaldo II. della Rovere, who became Duke of Urbino in 1538, was a patron of the _fabrique_ of Pesaro. The maiolica with yellow lustre, blue outlines and imbricated borders, which are assigned to Pesaro, belong to the first part of the 16th century; many of these have portraits and scrolls inscribed with the name of the person to whom they were dedicated. When Passeri visited the town in 1718, there was only one potter, making ordinary vessels. Some years after, in 1757, he sent potters from Urbania and recommenced the manufacture.

According to M. A. Jacquemart, two artists of Lodi--Filippo Antonio Callegari and Antonio Casali--were also established here about the middle of the 18th century. The bowl and cover and dish, Fig. 9, painted and gilt with flowers, are signed by them with their initials. There was another _fabrique_, established by Giuseppe Bertolucci of Urbania in 1757; Pietro Lei, a painter of Sassuolo, was engaged there.

CASTEL DURANTE

Castel Durante, a small town near Urbino, had a very extensive manufactory of maiolica; most of its early productions of the beginning of the 15th century are often confounded with those of Urbino, but there is evidence enough to show the beautiful character of the decorations employed there. Piccolpassi, director of a _bottega_ for maiolica, at Castel Durante, _circa_ 1550, wrote a treatise on the art of making and decorating it, whilst under the patronage of Guidobaldo II. The manuscript is in the Art Library of the Victoria and Albert Museum. This interesting work is illustrated with pen-and-ink sketches of all the details of manufacture and patterns of the ware, and the prices at which they were to be obtained; allusions are also made in it to other towns celebrated for the same industry; and the principal forms of the vessels are described by name.

In the year 1635 the name of the _fabrique_ was changed to URBANIA in compliment to Pope Urban VIII.; and in 1722 it was the only one which remained in the Duchy of Urbino, where articles of utility alone were made.

A great trade was carried on in pharmacy vases or Vasi da Spezieria, covered with grotesque heads, cornucopiæ, &c., designed and shaded with light blue, touched with yellow, orange, brown and green, the patterns being mostly in a bold style.

FAENZA

If not the most ancient, Faenza was one of the most celebrated of the manufactories of maiolica in Italy. It was this town that gave to the French the name by which they have to the present day distinguished their enamelled pottery, as Spain had previously supplied the name to Italy. Thus in Italy it was called _maiolica_ from Maiorca, and in France, _faïence_ from Faenza. The earliest dated piece now extant is probably a plate in the Musée de Cluny, dated 1475, made by Nicolaus de Ragnolis. Another specimen, in the Sèvres Museum, is inscribed "Nicolaus Orsini, 1477"; and in the same collection is a plate, signed "Don Giorgio, 1485," probably by Maestro Giorgio.

The products of this _fabrique_ retained for a long time a special character by which they are easily identified; at first the outlines of the figures were very simple and formal; the yellow lustre does not appear to have been adopted.

In the 16th century a favourite decoration was grotesques and arabesques in blue _camaïeu_ on yellow ground, or alternately on the two colours (see Fig. 15). The reverses of the Faenza plates are frequently light blue, with concentric circles or a spiral line in a darker colour; when white, with imbrications or zones alternately blue and yellow. Another peculiarity by which the Faenza ware is known, is the presence of red.

DIRUTA

Many of the lustred pieces of maiolica, with light yellow lustre edged with blue, which were attributed formerly to Pesaro, have been now classed among the wares made at Diruta, from the circumstance of a plate in the Pourtalès Collection--subject, one of Ovid's Metamorphoses, being similarly decorated with the yellow lustre, and signed by El Frate of Diruta, 1541. Some specimens have "_In Deruta_" inscribed at length; others have simply the letter D with a bar through it; and early pieces have the signature of the painter, El Frate, but without the yellow lustre.

FORLÌ

According to Passeri there were _fabriques_ of maiolica at Forlì in the 14th century. Its contiguity to Faenza exercised a great influence on the decoration of the ware, and the patterns on the obverses and reverses are similar. Fig. 18 has on the back "In la botega di M{o}. Jeronimo da Forli."

RIMINI is only known by a few specimens, which are actually signed, and by the mention made of its _fabriques_ by Piccolpassi. The pieces are dated 1535, and as late as 1635.

VITERBO, RAVENNA, AND TREVISO

There were manufactories at these three places in the 16th century, but few specimens of their productions now exist. (See Chaffers' _Marks and Monograms_, p. 112.) The first named is illustrated (Fig. 19) by a plateau; a man at the bottom holds a scroll inscribed "VITERBO DIOMED, 1544."

CAFAGGIOLO

This _fabrique_, established towards the end of the 15th century, became very important, lasting probably throughout the 16th century. The name is spelt in different ways, such as Chaffagiuolo, but Cafaggiolo is the general form.

Among the ornaments on this ware are frequently tablets with SPQR and SPQF (Florentinus), and on several the motto "Semper," adopted by Pietro de' Medici in 1470, and continued by Lorenzo il Magnifico. The device of a triangle and the word "Glovis," meaning when read backwards "si volge" (it turns), was used by Giuliano de' Medici in 1516, alluding to his change of fortune.

Another characteristic of this _fabrique_ is the dark blue background of many of the pieces, and the method in which it was coarsely applied by the brush.

Fig. 20 represents the St. George of Donatello, from the bronze statue in the church of Or San Michele, at Florence.

SIENA

The earliest specimens known of this important manufactory are some wall or floor tiles of the commencement of the 16th century. They are of maiolica, ornamented with polychrome designs of chimeræ, dragons, amorini, masks, birds, &c., beautifully painted in brilliant colours, especially orange and yellow on a black ground. They vary in shape, being triangular, pentagonal, or square, to suit the geometrical designs of the wall or floor they covered; the average diameter is 5 inches. The plate in blue _camaïeu_ on white ground, in the accompanying illustration (Fig. 21) is signed on the reverse "fata in Siena da M{o}. Benedetto."

After a long interval, the name of the town again appears on maiolica of a very characteristic description, accompanied by the names of the artists: Bartolomeo Terenze (or Terchi) Romano in 1727, and Ferdinando Maria Campani, 1733 to 1747, the subjects being taken from Raphael, Annibale Caracci, and other masters (see Figs. 22-24).

PISA

This city was, about the middle of the 16th century, the centre of a considerable trade in the exportation of Italian fayence into Spain, and especially to Valencia, in exchange for the golden metallic lustre ware of that country. Antonio Beuter, a traveller, about 1550, praises the fayence of Pisa as well as those of Pesaro and Castelli. A specimen bearing the name "PISA," a large vase of fine form, covered with arabesques on white ground, was in the collection of the late Baron Alphonse de Rothschild.

VENICE

Little is known respecting the Venetian maiolica of the 16th and 17th centuries, but numerous pieces exist bearing marks with Venice recorded on them. These are specimens of the 17th century with a mark of a fishhook, and from the long intervals between its use, it evidently belongs to a _fabrique_ and not a painter. As an example of Venetian maiolica, _circa_ 1700, see Fig. 25, a plate painted with an architectural subject.

In 1753, the Senate of Venice conceded to the brothers Bertolini the establishment at Murano of a kiln for making fayence. But it did not succeed so well as the promoters anticipated, and it was probably discontinued about 1760, as the concession was annulled by a decree of April 1763.

NOVE

In 1728, Giovanni Battista Antonibon established in the village of Nove, near Bassano, a manufactory of earthenware, and in 1732 he opened a shop in Venice for the sale of his wares. In 1741 the factory was still in a prosperous state, and carried on by his son, Pasqual Antonibon. In 1766 Pasqual took his son, Giovanni Battista Antonibon, into partnership, and in 1781 Sig. Parolini joined the concern, continuing the fabrication with great success until 1802, when they leased the premises to Giovanni Baroni, and the business was carried on under the name of _Fabbrica Baroni Nove_. It was prosperous for a short time, and some beautiful examples were produced.

_Maiolica fina_ or fayence only is still continued to be made, the manufacture of porcelain, for which at one time the works were so famed, not having been revived.

FLORENCE

Of the early maiolica made here little is known, but fayence of the 18th century is occasionally met with, marked with the letter F or Fl.

PADUA

In a street which still retains the name of _Boccaleri_ (makers of vases) were discovered traces of ancient potters' kilns, and some triangular wall tiles, of blue and white maiolica alternately, of the end of the 15th or beginning of the 16th century. Among these was a plaque, 20 in. in diameter, of the Virgin and Child between two saints, surrounded by angels. The subject is taken from a cartoon by Nicolo Pizzolo, a painter of Padua and a pupil of Squarcione; on the summit of the throne is written NICOLETI, the name he usually adopted. The plaque is now preserved in the Museum of that city.

Fig. 28, a plate, painted on grey ground, is inscribed on the reverse with the name of the place and the date 1548.

CASTELLI

The manufactory of Castelli, a small town in the Abruzzi, north of the city of Naples, was still flourishing towards the end of the 17th century. Francesco Saverio Grue, a man of letters and science, became about this time director of this Neapolitan maiolica _fabrique_. The ware was boldly ornamented with subjects, correctly designed and well painted; sometimes the landscapes were delicately heightened with gold. His sons and brothers continued to add lustre to his name for nearly a century. Francesco Antonio Grue's works, which have dates, range from 1677 to 1722, the subjects being principally scriptural and mythological. Luigi Grue, about 1720-1740, painted landscapes and figures. Ioanes Grue or Grua painted scriptural subjects from about 1730 to 1750. Saverio Grue was the re-inventor of gilding on fayence; some of his pieces are dated 1749 and 1753. His earliest paintings are without gold, consisting of classical subjects and mottoes on plaques. C. A. Grue was a painter about the same time.

Fig. 29, a bowl and cover, painted with nude figures after Annibale Caracci; and filled in with fruit, foliage, and cartouches, is signed "Liborius Grue P."

NAPLES

Maiolica was made in the city of Naples in the 17th century, but little is known respecting it. Examples of the fayence of the 18th century are frequently met with, signed FDV--F. del Vecchio; Giustiniani; the letter N crowned, and sometimes the letters H.F.

MONTE LUPO

The plates and dishes of coarse heavy earthenware, rudely painted with large caricature figures of soldiers and men in curious Italian costumes of the 17th and 18th centuries, in menacing and warlike attitudes, striding across the plates, holding swords, spears, and other weapons, are usually attributed to Monte Lupo, near Florence. The manufactory is still in existence.

Fig. 31, is signed on the back "Raffaello Girolamo fecit Monte Lupo 1639."

MILAN

No specimens can be identified of an earlier date than the 18th century. The fayence is usually painted with grotesque figures, but sometimes with flowers and scrolls in relief, also with Watteau or Chinese subjects. (See Fig. 33.)

Some pieces, apparently of a later date, are from the manufactory of Pasquale Rubati, and usually signed with his initials.

TURIN

That there was a manufactory of maiolica at Turin in the 16th century is proved by a dish with pierced border, painted on the inside with a boy carrying two birds on a long pole; it is marked underneath--Fatta in Torino adi 12 di Setebre 1577 (see Fig. 35). The manufactory was in existence in the first half of the 18th century and was under Royal patronage, as a large dish which was in the collection of the Marquis D'Azeglio is inscribed on the back of the rim: "Fabrica Reale di Torino GR 1737." In the centre of the reverse is a monogram composed of F. R. T. (Fabbrica Reale Torino).

FERRARA

Alfonso I., Duke of Ferrara, himself occasionally worked in a room attached to his palace, and is said to have discovered a fine white colour, which was adopted by the _fabriques_ of Urbino. He died in 1534. His successor, Duke Alfonso II., summoned Camillo Fontana (son of the celebrated Orazio Fontana of Urbino) in 1567 to give new life to the manufactory. All the well-known pieces bearing the _impresa_ of the Duke, a flame of fire and the motto "ARDET ETERNUM," were produced at this _fabrique_, about 1579. At a much later period, probably late in the 17th century, there was still a manufactory here.

BASSANO, NEAR VENICE

A _fabrique_ (according to V. Lazori) was founded here about 1540, by Simone Marinoni, but it is not known how long it lasted. Later pieces of the 17th century bear a certain resemblance to the Castelli ware. In 1728, a manufactory of maiolica was set on foot by the sisters Manardi, which was continued in 1735 by Giovanni Antonio Caffo; and some time after, but previous to 1753, another was carried on by Giovanni Maria Salmazzo.

GENOA

Piccolpassi speaks of Genoa as a great mart for maiolica about the year 1540. He tells us the patterns painted--arabesques, leaves, landscapes, &c.--and the prices charged, but no specimens of this early date have hitherto been identified. The fayence of the 18th century, however, is of frequent occurrence; its decoration is much the same as that of Savona, viz. rude and hasty sketches in blue _camaïeu_, sometimes with small caricature figures in the style of Callot. In consequence of Genoa's maritime position, the mark selected for this ware was a beacon, by some erroneously called a lighthouse, from which some object is suspended on a pole.

Fig. 37, a bottle, painted in blue with birds and scroll ornaments, has this mark.

SAVONA

The manufactory of Savona was founded in the 17th century at the village of Albissola, situated on the coast, near Savona. The ware is generally ornamented in blue on white ground, the designs are roughly executed, and the mark, consisting of a shield of arms of the town, is often seen on the reverse. There are some other marks attributed to Savona: a double triangle with the letter S, called the "knot of Solomon" (Salomone), the sun with G.S., the falcon mark, the tower mark, and the anchor mark, so called from these emblems being depicted on the ware. Fig. 38, a basket, perforated and with two handles, is rudely painted with scrolls in yellow, blue, and green; in the centre is a cartouche with the letters S.A.G.S.

LORETO

Although Santa Casa at Loreto is not strictly speaking a _fabrique_ of maiolica, yet maiolica is actually made within the precincts of the sanctuary. Bowls are made of clay, mixed with the dust shaken from the dress of the Virgin and walls of the sanctuary, and in this form are preserved by the faithful as tokens of their visit to the shrine.

SGRAFFIATO OR INCISED WARE

The earthenware vessels with stanniferous enamel, called in Italy _sgraffiato_ ware, have been attributed to CITTÀ DI CASTELLO. They are engraved in outline and decorated _en engobe_--that is, the object before being glazed is covered with a second coating of coloured slip or _engobe_, on which is graved the ornament or design after it has been merely dried by the air, leaving a sort of _champ levé_, and afterwards baked in the kiln. These fayence vases are generally enamelled in yellow, green, and brown. Fig. 40, a bowl, is decorated with foliage, on the stem are three lions seated, in full relief; round the bowl runs a wreath of yellow flowers; and within is a man wrestling with a dragon, surrounded by a wreath. There was a manufactory of this _sgraffiato_ ware at LA FRATTA, near Perugia, which was continued down to a late period. Fig. 42, a basket-shaped pot, has ornaments in relief. Similar ware was also made at PAVIA in the 17th century.

FIG. 43.--VASE. Height 20-3/4 in. _15th Century._]

SPAIN

The exact date of the introduction of enamelled pottery with lustre-pigment into Spain is unknown, but the existence of manufactures of "golden" pottery at Calatayud, in Aragon, is testified to by the Mohammedan geographer Edrisi in the 12th century.

The Hispano-Moresque period, which is best known to us from the numerous specimens preserved to our time, commences with the 14th century, when the Alhambra of Granada was erected by the Moors.

The earlier pieces of the 14th and 15th centuries may be distinguished by a golden yellow metallic lustre, and blue enamel on a white ground. The designs are Moorish, consisting of diaper patterns, foliage, fantastic and other animals, shields of arms of Spanish princes, &c., and sometimes Arabic inscriptions, transformed into ornamental designs.

Fig. 43, a vase, is decorated with leaves and conventional flowers, in reddish yellow lustre and blue.

The _azulejos_ or enamelled tiles of the Alhambra, bearing passages from the Koran, shields and other devices, are well known; they date from the beginning of the 14th century (see Fig. 44).

MALAGA. The principal as well as the earliest centre for the manufacture of fayence was in this city, and the finest known specimen of Moorish fayence is the celebrated vase of the Alhambra, which is supposed to be as early as the palace itself, viz. the 14th century, and was probably made here. The colours of the decoration are a pure blue enamel, surrounded or heightened with a yellow lustre on white ground.

Figs. 45 and 46 are other specimens of the Spanish lustre ware, with shields of arms, of the 15th or 16th century.

MAJORCA was the next in importance as regards its ancient manufacture, but it must also have had a very extensive trade in fayence, for it was exported to almost every part of the globe. Giovanni de' Bernardi da Uzzano, writing in 1442 about the productions of the Balearic Isles, says "_the fayence of Majorca has a very extensive sale in Italy_."

As the keramic art in Spain declined, the Arabic inscriptions, which were perfect on the early vases like that of the Alhambra, were copied, but the painter, not knowing their signification, employed them as ornaments, until at last they became altogether confused and illegible. The arabesques were no longer in such elegant taste, and large coats of arms entirely filled the centres of vases and plates.

VALENCIA was also celebrated for its fayence, which may be traced back to Roman times, for Saguntum, now Murviedro, is mentioned by Pliny and others as noted for its jasper red pottery. It is impossible to discover the origin of the _lustred_ pottery of Valencia, but it probably dates from the beginning of the 15th century, when it became the most important in Spain. The pieces attributed to this place have Christian devices; many of them bear the inscription, "In principio erat Verbum et Verbum erat apud Deum," from the first chapter of St. John, and the eagle displayed (not in an escutcheon as in the arms of Aragon), for St. John was particularly venerated at Valencia. Of its earlier productions of the Moorish period nothing is known.

Valencia has from time immemorial been celebrated for its _azulejos_ or enamelled tiles. There are many houses of the 15th and 16th centuries still existing in the ancient cities of Spain, the walls of whose rooms are covered with tiles ornamented with borders, scrolls, and geometrical designs. The celebrity of this manufacture is maintained to the present day. Fayence of all descriptions was extensively made at Valencia throughout the 17th and 18th centuries. Fig. 47, a dish, is blue and white with a lion in the centre.

MANISES, near Valencia, was also celebrated from the 16th to the 18th century. The decorations appear to be of Oriental design, executed for the most part in a rich copper-coloured lustre. Some dishes with copper-colour lustre have upon them a mark of an open hand, which may be the emblem of the place, and are dated 1610 and 1611. Fig. 48, a vase, is painted in lustre, with foliage, birds and animals, and with a rudely executed shield of arms, seemingly of Sicily or Portugal.

TRIANA, near Seville. There were several _fabriques_ here, one for the manufacture of spires or ornaments of earthenware, with which the gables of the buildings were crowned; others for the _azulejos_ or tiles so much used in Spain, and for fayence vessels of all descriptions. Fig. 49 is a bottle in the form of a lady in the costume of the period of Louis XIV., _en grande tenue_; inside the _fontange_ or top-knot of the headdress, which forms the spout, is written "Victor. I. Viva. Mi. Arno. Don. Damian. Sant. [cross]."

ALCORA. There was a very important _fabrique_ of fayence at this place, carried on by the Count D'Aranda, in the 18th century.

The usual mark upon this fayence is the letter A in gold or colour.

TALAVERA, near Toledo, was one of the most important manufactories in Spain in the 17th and 18th centuries, and the word _talavera_ was used to indicate all fayence in the same manner as _fayence_ in France and _delft_ in England.

Fig. 52, a bowl, is glazed, decorated within and without with a bull fight, storks, and trees, in green, orange and manganese.

CONTINENTAL FAYENCE

FRANCE

Maiolica and Fayence are essentially the same, being composed of the same material and covered with a tin glaze or opaque white enamel, which serves to hide the dingy colour of the clay, and forms a fine ground for the reception of colours.

SAINT PORCHAIRE. All the earliest writers on the subject appear to have thought that it was made in Touraine, and it was called HENRI DEUX ware.

The ware next became known as FAÏENCE D'OIRON, but in 1888 it was affirmed that the factory of this pottery was at Saint Porchaire.

The distinguishing characteristics of this curious ware are, in the first place, the body, which is of a creamy white pipeclay, very compact and of fine texture, so that it does not, like the ordinary fayence, require an opaque white enamel, but merely a transparent glaze; and secondly, that instead of being painted with enamel colours over the surface, it is inlaid with coloured plates, in the same manner as the _champ levé_ enamels or niello work in metal.

Fig. 53, a candlestick of cream-coloured ware, is inlaid with arabesques and other patterns, in dark brown and reddish brown, with reliefs of three boys, tragic masks, shields of arms of France, and the cipher of Henri II.; above are three terminal figures of satyrs; date about 1540.

Fig. 54, a _biberon_, is inlaid with interlaced bands and scrolls, rosettes, guilloches, masks, &c., in a reddish colour; a curved band on the neck has a row of ciphers, these being the letters A. M., elegantly arranged as a decorative monogram, probably that of the Constable Anne de Montmorency.

BEAUVAIS was celebrated for the manufacture of decorative pottery in the 14th century, and descriptions of cups of the _terre de Beauvais_ frequently occur in early inventories. Several specimens of it are still in existence; they are of red, green, or blue glaze, with gothic inscriptions and arms of various provinces of France in relief.

APT. The fabrication of fayence is said to have commenced here about the middle of the 18th century, principally in imitation of jasper and brocatelle marble. The manufactory of M. Bonnet was established about 1780, and marbled ware and vases of a yellow colour were produced.

Fig. 55 is a yellow vase with masks and vine leaves.

BLOIS. A manufactory of fayence was in existence here throughout the 17th and 18th centuries. It was similar to that of Nevers and Rouen. Some specimens are signed Lebarquet.

AVIGNON. A manufactory of pottery flourished here from about 1650 to 1780, but there were also potteries early in the 16th century. The pottery is of a chocolate brown, with a fine metalloid glaze like bronze or tortoiseshell. The ewers and bottles are of elegant forms, resembling those of Italy, sometimes perforated and ornamented with masks and flowers in relief, or painted yellow.

BERNARD PALISSY, born 1510, succeeded, after many years of diligent research, in discovering the enamel which decorates his ware. His earthenware, as well as his style of decoration and his beautiful modelling, were quite original. The natural objects represented upon his ware are true in form and colour, being mostly modelled from nature; the shells are copied from tertiary fossils found in the Paris basin; the fish are those of the Seine, and the reptiles and plants such as he found in the environs of Paris.

NEVERS. The earliest evidence of the making of fayence at Nevers is the foundation of a _fabrique_ by Dominique Conrade, in the latter half of the 16th century, which was carried on by his son and grandson. In 1652, Pierre Custode established another _fabrique_, which was equally successful, and seven generations of his family were employed in it. Other manufactories were started in the 18th century.

The fayences of the first epoch, 1600 to 1660, have frequently been confounded with Italian maiolica, but a little attention will show the points of difference. In the Nevers ware the figures are always yellow on blue ground; the Italian figures are usually blue on yellow. At Nevers red or metallic lustre was never employed, and the outlines are always traced in manganese violet, never in purple or black. During the second epoch, the ground was a peculiar lapis-lazuli blue, like the Persian colour called _bleu de Perse_; it entirely covered the piece, was spotted or painted with white, or sometimes in yellow and orange, and decorated with flowers and birds. The Chinese patterns are in light blue _en camaïeu_, sometimes intermixed with a sort of brown lilac.

ROUEN. There was a manufactory of pottery at Rouen early in the 16th century, and towards the end of the next century there were many establishments. At the commencement of the 18th century, the Chinese style pervaded all the Rouen fayence, but it was transformed or travestied and possessed a special physiognomy; the subjects were landscapes and buildings with figures, fantastic birds, dragons, &c., in blue, green, yellow, and red, bordered with the square Chinese ornaments. At a later date the decoration consists principally of flowers issuing from cornucopiæ and rococo ornaments; this sort of style is called in France "_à la corne_." The paste of the Rouen fayence is heavier and thicker than that of Delft, but the designs and ornaments are full of taste, decorated in blue _camaïeu_ and in polychrome, some in the style of Nevers, with white on _bleu de Perse_, but of paler colour. The pieces were frequently of large size, and included fountains, consoles, vases, &c.

Fig. 62 is painted with polychrome decoration of landscapes, &c.; period of Louis XIV.; height 26-3/8 in.

Fig. 63 is painted in blue with arabesques and flowers; period of Louis XIV.; height 9-3/4 in.

Fig. 64 is painted in the centre with a rose ornament, with medallions and scrolls round the rim, in blue and orange; period of Louis XIV.; diam. 10 in.

Fig. 65 is painted in polychrome; period of Louis XV.; diam. 9-5/8 in.

Fig. 66 is painted with Chinese figures, &c., in polychrome; period of Louis XV.; diam. 10 in.

STRASSBURG[1] and HAGENAU were noted for the manufacture of fayence, established by Charles François Hannong about 1709. It was called in France "poterie du Rhin," and is of a peculiar character, and easily known, being generally decorated with flowers and scrolls in red, rose colour, and green. Charles F. Hannong was succeeded by his sons Paul and Balthasar. The former took charge of the Strassburg works, and the latter the factory which had been started at Hagenau. The Strassburg fayence works were closed in 1780.

Fig. 67, polychrome decoration, bears the initials of Paul Hannong; about 1750; height 22-1/4 in.

Fig. 68, in three pieces, coloured in maroon, yellow, blue and green, bears the mark of Paul Hannong; about 1750; height 3 ft. 9 in.

MOUSTIERS. The products of the Moustiers _fabriques_ may be divided into three periods:--

1st Epoch. Towards the end of the 17th century. The subjects are hunting scenes, &c., painted in blue; champêtre scenes and figures in costumes of the period of Louis XIV.; and mythological and biblical subjects with arabesque borders. The outlines are sometimes lightly indicated in violet of manganese.

2nd Epoch. From the commencement of the 18th century to about 1745. The specimens of this period are in blue _camaïeu_ with highly finished and graceful interlaced patterns, among which are cupids, satyrs, nymphs, terminal figures, flowers, masks, &c.; canopies with draperies resting upon consoles, vases, fountains, &c.

3rd Epoch. From 1745 to 1789. The fayence is mostly painted in polychrome; the colours are blue, brown, yellow, green, and violet. The decorations are flowers, fruit, and foliage, and sometimes mythological subjects. Other patterns of this period consist of grotesque figures, and caricatures. The outlines of the designs were transferred to the surface of the ware by means of paper patterns, pricked with a fine needle and powdered over with charcoal.

Fig. 69, painted in green _camaïeu_ with a rustic subject in the style of Boucher, with polychrome floral border; 1720 to 1760; diam. 11-1/8 in.

Fig. 70. Compotier, painted with a central hunting subject, after Tempesta, surrounded by a floral border, and outer border of garlands, in polychrome; 1680 to 1720; diam. 10-3/8 in.

Fig. 71. Plate, octagonal, with curved outline, painted with central medallion of Juno standing in a landscape, surrounded by a garland, and round the border the busts of divinities within medallions, and garlands, in polychrome; 1680 to 1720; diam. 10 in.

Fig. 72. Barber's basin, painted in polychrome with the subject of Diana and Actæon; 1680 to 1720; length 15 in.

VARAGES also possessed manufactories in the 18th century for fayence in the style of Moustiers, from which it is only a few miles in distance. Some of this ware bears the mark of a cross, and was called "Faïence à la Croix." Fig. 73 is painted with rustic figures in landscape, after Wouverman; crimson and green flower border, and marked with a cross. 18th century. Diam. 11-1/2 in.

MARSEILLES. The manufacture of fayence at Marseilles, and elsewhere in the South of France, was in activity early in the 17th century. A little after 1750, twelve _fabriques_ of pottery were in existence. In 1790 there were eleven manufactories existing, but most of them ceased about 1793, on account of the Treaty of Commerce with England. The Revolution of 1793 gave an additional blow to the keramic industry of Marseilles. In 1805 there were only three factories at work, employing twenty hands. In 1809 only one remained.

The fayence is much the same in character as that of Moustiers, and sometimes resembles that of Strassburg. The decorations are frequently in red or green, sometimes with Chinese designs. There is one peculiarity about the Marseillaise fayence which at once fixes its identity, and this is, three green leaves or marks painted on the backs of plates and dishes to hide the imperfections in the enamel caused by the _pernettes_ or points of support on which they rested in the kiln. There is also a great resemblance between the early ware made here and at Genoa, in consequence of the emigration of many workmen. We learn from a complaint made on the subject by the potters of Marseilles to the Intendant of Provence in 1762, from which it seems they took a great number of apprentices at very low wages, and the wages were paid in fayence, which mode of payment they said deteriorated the quality, and caused the workmen to emigrate to Genoa. Also they complained that great quantities of Genoese fayence were imported into Languedoc and Provence, and spread over France, which was absolutely ruinous to the trade of the two provinces, and especially to Marseilles.

Fig. 74. Soup tureen, cover, and stand, with polychrome flower decoration and gilding, was made by Savy, about 1750; length of tureen, 15-1/2 in.

SINCENY in Picardy. A manufactory was established here in 1733, by Jean Baptiste de Fayard, Gouverneur de Chaunay et Seigneur de Sinceny. Dr. Warmont (_Recherches Historiques sur les faïences de Sinceny, &c._, Paris, 1864) divides the products of this manufactory into three periods:--

1. Rouennaise, 1734 to 1775.
2. Faïence au feu de réverbère, 1775 to 1789.
3. Décadence de l'Art, 1789 to 1864.

The earliest pieces were painted in blue; the next in blue touched with red or green and yellow, decorated with _lambrequins_ (mantlings), _à la corne_ (cornucopiæ), birds, and butterflies. Chinese figures were doubtless stencilled by pricked papers and charcoal powder.

About 1775 a great improvement was perceptible in the fayence of Sinceny; the paste became finer in quality, the colours brighter and more varied, in more exact imitation of the porcelain of Japan. This was accomplished by what is called _le feu de réverbère_, in contradistinction to the old process _au grand feu_; the latter included only one baking, while in the other the ware was placed a second time in the kiln, and the pigments were not exposed to so great a heat, which allowed the employment of brighter colours. Table services decorated in polychrome, with branches of roses, sometimes in green _camaïeu_; delicate wicker baskets, watch stands, &c., were produced; they were painted with Chinese figures, rococo scrolls, and other ornaments. From 1790 the fayence _au feu de réverbère_ was largely discontinued on account of its expensive character and the introduction of English ware at a lower price; but still, both descriptions were occasionally made.

Fig. 75 is a bowl and cover, painted in colours inside with a coronet, supported by two cupids on clouds with a flaming heart beneath, 18th century.

LUNÉVILLE. Founded in 1731 by Jacques Chambrette, it was called _La Manufacture Stanislas_; Jacques was succeeded by his son Gabriel and his son-in-law Charles Loyal. They made fayence of blue decoration like Nevers, and sometimes with rose and green colours like the old Strassburg ware. Large figures of lions, dogs, and other animals, of natural size, are sometimes met with.

APREY, near Langres. Established, about 1750, by Lallemand, Baron d'Aprey. About 1780 it was conducted by M. Vilhault, who made a superior kind of fayence. The early style is that of Strassburg with rose colour, green and yellow predominating.

At MANERBE, near Lisieux in Normandy, and at MALICORNE, INFREVILLE, CHÂTEAU-LA-LUNE and ARMENTIÈRES, those elegant glazed earthenware pinnacles or finials which adorn the gables of old mansions in various parts of Normandy were constructed. They are 5 or 6 feet in height, being a series of small ornaments placed one above another on an iron rod; they partake of the character of the _figulines rustiques_ of Palissy, and have frequently been sold as such.